The story of the Kelly system is a story of secrets

 

The story of the Kelly system is a story of secrets - or if you prefer, a story of entropy.
--
Part One, Entropy, Minus Sign, p. 76

 

William Poundstone

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Tell me a story.
In this century, and moment, of mania,
Tell me a story.
Make it a story of great distances, and starlight.
The name of the story will be Time,
But you must not pronounce its name.
Tell me a story of deep delight.

 

Robert Penn Warren

 

There is a plot. What would be the point of just a bunch of things? There's a story, but the story can hold abstractions. I believe in story. I believe in characters. But I believe in a story that holds abstractions, and a story that can be told based on ideas that come in an unconventional way."

 

David Lynch

 

Sophie Scholl's inspirational and life-affirming story is not just another story about the past. It is a story of vital importance in the present and about the future. It is a story of bravery, of personal conscience and of freedom of opinion. It is really a story of today, about you and me. We must never forget she was just 21 years old when she was killed by the Nazis, but she possessed a life-affirming personality no dictatorship could ever silence.

 

Sophie Scholl

 

The major difference between Astaire and Kelly is a difference, not of talent or technique, but of levels of sophistication. On the face of it, Kelly looks the more sophisticated. Where Kelly has ideas, Astaire has dance steps. Where Kelly has smartly tailored, dramatically apt Comden and Green scripts, Astaire in the Thirties made do with formulas derived from nineteenth-century French Farce. But the Kelly film is no longer a dance film. It's a story film with dances, as distinguished from a dance film with a story. When Fred and Ginger go into their dance, you see it as a distinct formal entity, even if it's been elaborately built up to in the script. In a Kelly film, the plot action and the musical set pieces preserve a smooth community of high spirits, so that the pressure in a dance number will often seem too low, the dance itself plebeian or folksy in order to "match up" with the rest of the picture.

 

Fred Astaire

 

I know what you want. You want a story that won't surprise you. That will confirm what you already know. That won't make you see higher or further or differently. You want a flat story. An immobile story. You want dry, yeastless factuality.

 

Yann Martel